Fast Fashion Firms Prepare for EU Crackdown on Waste Mountain

A worker from the Foundation "Formacio i Treball" ("Training and Work Program"), which aims to promote the recruitment of unemployed people who are especially vulnerable, such as migrants especially, uses a machine with bags of used clothes to separate and classify for packaging machine at a warehouse in Sant Esteve Sesrovires, on the outskirts of Barcelona, Spain August 1, 2023. REUTERS/Nacho Doce
A worker from the Foundation "Formacio i Treball" ("Training and Work Program"), which aims to promote the recruitment of unemployed people who are especially vulnerable, such as migrants especially, uses a machine with bags of used clothes to separate and classify for packaging machine at a warehouse in Sant Esteve Sesrovires, on the outskirts of Barcelona, Spain August 1, 2023. REUTERS/Nacho Doce
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Fast Fashion Firms Prepare for EU Crackdown on Waste Mountain

A worker from the Foundation "Formacio i Treball" ("Training and Work Program"), which aims to promote the recruitment of unemployed people who are especially vulnerable, such as migrants especially, uses a machine with bags of used clothes to separate and classify for packaging machine at a warehouse in Sant Esteve Sesrovires, on the outskirts of Barcelona, Spain August 1, 2023. REUTERS/Nacho Doce
A worker from the Foundation "Formacio i Treball" ("Training and Work Program"), which aims to promote the recruitment of unemployed people who are especially vulnerable, such as migrants especially, uses a machine with bags of used clothes to separate and classify for packaging machine at a warehouse in Sant Esteve Sesrovires, on the outskirts of Barcelona, Spain August 1, 2023. REUTERS/Nacho Doce

In a warehouse on the outskirts of Barcelona, women stand at conveyor belts, manually sorting T-shirts, jeans and dresses from large bales of used clothing - a small step towards tackling Europe's towering problem of discarded fashion.
Within a year, the sorting center run by garment re-use and recycling charity Moda Re plans to double the volume it handles to 40,000 metric tons annually.
"This is just the beginning," said Albert Alberich, director of Moda Re, which is a part of Spanish charity Caritas and runs Spain's biggest second-hand clothing chain.
"Increasingly we are going to turn used clothes into raw material from Europe for fashion companies."
Partly funded by Zara-owner Inditex, Moda Re will expand sites in Barcelona, Bilbao, and Valencia, in some of the first signs of a planned ramp-up in garment sorting, processing, and recycling capacity in response to a barrage of new European Union proposals to curb the fashion industry.
Also in Spain, rivals including H&M, Mango and Inditex have created a non-profit association to manage clothing waste, responding to an EU law requiring member states to separate textiles from other waste from January 2025.
Despite such efforts, less than a quarter of Europe's 5.2 million tons of clothing waste is recycled and millions of tons ends up as landfill every year, the European Commission said in July.
Precise data on the growth of clothing waste is scarce but collection for recycling and reuse increased gradually in several European countries from around 2010, a 2021 EU report said.
Fast fashion, or making and selling cheap clothes with a short lifespan, is "highly unsustainable", the Commission said in July. The textile industry is a major contributor to climate change and environmental damage, it noted.
Inditex, which in March said it placed 10 percent more items of clothing on the market globally last year than in 2021, aims to use 40% recycled fibers in garments by 2030 as part of sustainability goals announced in July.
"The main problem that we are facing is overconsumption," said Dijana Lind, ESG analyst at Union Investment, Frankfurt-based asset manager that holds shares in Adidas , Hugo Boss, Inditex, and H&M.
Lind said she had been engaging with Adidas, Hugo Boss, and Inditex about the need for those companies to increase their use of recycled textiles, and for the apparel industry as a whole to increase textile recycling.
Hugo Boss said in a statement to Reuters that "overproduction and overconsumption are, in general, an industry-wide problem," adding that it was using data analysis to better adjust production to demand.
Between 6 and 7 billion euros of investment will be needed by 2030 to create the scale of textile waste processing and recycling that the EU is aiming for, consultancy McKinsey estimated in a report last year. Reuters could not establish what level of investments were currently being made in the industry.
Lind said companies had introduced some first steps but "more needs to be done."
Inditex said it would invest 3.5 million euros in Moda Re over three years and had recycling containers in all its Spanish stores. It did not respond to a request for comment on the suggestion it needed to do more.
In a statement to Reuters, H&M said it recognized it was "part of the problem."
"The way fashion is produced and consumed needs to change – this is an undeniable truth," H&M said.
The obstacles to significantly reducing clothing waste are formidable, despite the EU crackdown, industry sustainability commitments and initiatives like the Moda Re expansion.
Hundreds of similar plants, along with investment in technology and market interventions will be needed to meet industry goals to recycle 2.5 million tons of textile waste by 2030, McKinsey said in the report.
Fourteen textile recycling companies in Europe have plans to increase their production capacity, according to Fashion For Good, a recycled fiber start-up investment company that surveyed 57 recyclers in a September 2022 report.
The EU has not set specific targets for recycled content in garments, but by 2030 aims for all textile products sold in the bloc "to a great extent" be made of recycled fibers, as well as being durable, repairable and recyclable.
To create the capacity to meet the goals, ReHubs Europe, an association set up by garment lobby group EURATEX, promotes investments in "fiber-to-fiber" recycling: processes that turn used garments into yarn to make new textiles.
EURATEX did not immediately respond to a Reuters question about the level of investments made in the technology.
Less than 1% of clothes are currently recycled in this manner and the processes are still being developed. Challenges include separating different types of fiber into feedstock suitable for recycling.
With such techniques still in their infancy, the higher cost of recycled fabric compared to new fabric remains a barrier to widespread adoption.
At the Barcelona plant, garments arrive from more than 7,000 donation bins in supermarkets and Zara and Mango stores. Infrared machines donated by Inditex identify the fiber make-up of garments to speed up the largely-manual sorting.
Currently around 40% of the clothes Moda Re receives are sent to other facilities for recycling. Of that, just a fifth is then recycled fiber-to-fiber, a share that Moda Re expects will grow to 70% over the next three to four years.
For now, most of the recycling is instead for lower grade products like dishcloths.
Almost half the clothes donated to Moda Re are shipped for resale in African countries including Cameroon, Ghana, and Senegal. Moda Re says the clothes it exports can be reused.
According to United Nations trade data, the EU exported 1.4 million tons of used textiles in 2022, more than twice as much as in 2000. Not all those clothes get reused, and exports of used clothes from Europe to Africa can lead to pollution when clothes that can't be resold end up in dumps, the EU has said.
Proposed European Commission rules seek to clamp down on unscrupulous operators that export damaged items destined for dumps, and would require countries to demonstrate their ability to manage the material sustainably.
Moda Re said it aims to reduce the volume of clothes it sends to Africa.
Only 8% of the donations are currently resold at Moda Re's second-hand shops, the method widely seen as the more efficient way of reusing old clothes. A similar amount ends up as European landfill.
The company aims to double the amount it resells by expanding to 300 second-hand shops in Spain over the next three years from just over 100 presently, it told Reuters.
Despite the challenges, employees at Moda Re said they felt their work was positive.
"We take the clothes that have been thrown away to make new clothes," said Aissatou Boukoum, a young Senegalese worker, feeding garments through a machine that slices them into ribbons to be sent for recycling. "For me, it is good."
As well as the efforts by Inditex, Puma has partnerships with garment collecting and sorting companies I:CO in Germany, Texaid in Switzerland and Vestisolidale in Italy.
Adidas, Bestseller, and H&M have invested in Finnish start-up Infinited Fiber Company, which manufactures fibre out of textile waste, cardboard and paper.
The Commission's legislative push includes rules to make retailers contribute to the cost of collecting used clothes for reuse and recycling.
Under the proposed rules, retailers would pay a fee of roughly 12 euro cents per item for each garment sold in the bloc, with higher rates for garments that are harder to recycle, the Commission estimated in July.
As in Spain, textile waste associations would be set up in each country. In France this system has already been in place since 2008 under an organization called Refashion.
Reuters asked ten leading fashion companies including Adidas, H&M, and Primark how the fees would hit their profitability. None provided an estimate. All said they hoped the fees would be the same across the EU.
"It's a tsunami of legislation," said Mauro Scalia, director of sustainable businesses at EURATEX.



Japan's Traditional Kimonos Are Being Repurposed in Creative Ways

Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
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Japan's Traditional Kimonos Are Being Repurposed in Creative Ways

Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)

The kimono, that elaborate, delicate wrap-around garment worn by geisha and samurai from centuries back, is getting a vibrant remake, appreciated these days for a virtue that’s more relevant than ever: sustainability.

A genuine silk kimono, which literally means “worn thing,” lasts a hundred years or more. In a Japanese family, it’s handed down over generations like heirloom jewelry, artworks and military medals.

It never goes out of style.

The design of the kimono and accompanying “obi” sash has remained basically the same since the 17th century Edo period depicted in Akira Kurosawa samurai movies.

But today, some people are taking a different creative approach, refashioning the traditional kimono, and also taking apart and resewing them as jackets, dresses and pants.

“I noticed that a lot of beautiful kimono is just sleeping in people’s closets. That’s such a waste,” said Mari Kubo, who heads a kimono-remake business called K’Forward, pronounced “K dash forward.”

Hers is among a recent surge in such services, which also turn old kimono into tote bags and dolls.

The most popular among Kubo’s products are “tomesode,” a type of formal kimono that is black with colorful, embroidered flowers, birds or foliage at the bottom, The Associated Press reported.

She also creates matching sets, or what she calls “set-ups.” A tomesode is turned into a jacket with its long, flowing sleeves intact, and its intricate patterns placed at the center in the back. She then takes a kimono with a matching pattern to create a skirt or pants to go with the top. Sometimes, an obi is used at the collar to add a pop of color.

Kubo said many of her customers are young people who want to enjoy a kimono without the fuss.

A remade kimono at K’Forward can cost as much as 160,000 yen ($1,000) for a “furisode,” a colorful kimono with long sleeves meant for young unmarried women, while a black tomesode goes for about 25,000 yen ($160).

What Tomoko Ohkata loves most about the products she designs using old kimonos is that she doesn’t have to live with a guilty conscience, and instead feels she is helping solve an ecological problem.

“I feel the answer was right there, being handed down from our ancestors,” she said.

Recycling venues in Japan get thousands of old kimonos a day as people find them stashed away in closets by parents and grandparents. These days, Japanese generally wear kimonos just for special occasions like weddings. Many women prefer to wear a Western-style white wedding dress rather than the kimono, or they wear both.

Many of Ohkata’s clientele are people who have found a kimono at home and want to give it new life. They care about the story behind the kimono, she added.

Her small store in downtown Tokyo displays various dolls, including a figure of an emperor paired with his wife, who are traditionally brought out for display in Japanese homes for the Girls’ Day festival every March 3. Her dolls, however, are exquisitely dressed in recycled kimonos, tailored in tiny sizes to fit the dolls. They sell for 245,000 yen ($1,600) a pair.

The original old-style kimono is also getting rediscovered.

“Unlike the dress, you can arrange it,” says Nao Shimizu, who heads a school in Japan’s ancient capital of Kyoto that teaches people how to wear a kimono and how to carry oneself while wearing it.

“In half a year, you can learn how to do it all by yourself,” she said, briskly demonstrating several ways to tie the obi to express different moods, from playful to understated.

Besides its durability, said Shimizu, that versatility also makes the kimono sustainable.

Younger Japanese are taking a more relaxed view, wearing a kimono with boots, for instance, she laughed. Traditionally, kimono is worn with sandals called “zori.”

Although it requires some skill to put on a kimono in the traditional way, one can take lessons from teachers like Shimizu, like learning a musical instrument. Professional help is also available at beauty parlors, hotels and some shops.

Most Japanese might wear a kimono just a few times in their lives. But wearing one is a memorable experience.

Sumie Kaneko, a singer who plays the traditional Japanese instruments koto and shamisen, often performs wearing flashy dresses made of recycled kimonos. The idea of sustainability is deeply rooted in Japanese culture, she says, noting that the ivory and animal hide used in her musical instruments are now hard to obtain.

She calls it “the recycling of life.”

“The performer breathes new life into them,” says the New York-based Kaneko.
“In the same way, a past moment — and those patterns and colors that were once loved — can come back to life.”


Scottish Fashion Seeks New Talent for Homespun Crafts 

Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
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Scottish Fashion Seeks New Talent for Homespun Crafts 

Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)

Far from the glamor of fashion weeks in Paris, Milan and London, a nondescript cashmere mill on Scotland's western coast that supplies luxury labels hopes local training programs can attract new talent.

"It's a dying trade," 61-year-old Maria Wade said of her job as a "greasy mender" at Alex Begg, a semi-rural mill that has been based in Ayr in southwest Scotland for more than a century.

The weaving mill supplies cashmere to prestigious fashion brands, which cannot be named for confidentiality reasons, as well as its own luxury label, Begg x Co.

"You don't get many people mending raw cashmere," said Wade, whose role is to meticulously inspect and darn any defects in the fabric by hand, before it is washed, cut and shipped around the world.

Famed for its luxury tweeds, wools and cashmeres, Scotland's textile industry has seen a sharp decline in recent decades as high manufacturing costs struggle to compete with cheap production abroad, and an ageing workforce retires, taking traditional manufacturing skills with them.

When technical transformation director Lorna Dempsey joined Alex Begg more than 25 years ago, the average age was "quite old", she told AFP, "about 50-plus".

Since then, the company has made a "conscious effort to try and recruit younger people" and brought the average age down to around 40.

It's no easy task in the run-down former mining town, with those interested in fashion careers looking to places such as Glasgow, around an hour's drive away, or even further afield.

"We don't have a lot of skills within the Ayrshire area, so it's very difficult for us to try and find skilled staff," said Dempsey.

The rise of fast fashion has made it harder to find young people with manufacturing know-how.

"A lot of our operations are definitely a skill from the past," said Dempsey, adding that people don't learn how to "darn their socks anymore."

- 'On my doorstep' -

The mill's partnership with the King's Foundation -- a charity founded by King Charles III and headquartered in the nearby Dumfries House estate -- has helped turn things around.

The foundation runs programs aimed at addressing "a skills gap within the UK textile industry".

Trainees learn about production lines, supply chains, working with different materials and sustainable design -- skills that employers say are often not covered in fashion school.

They are then given work experience at Scottish mills such as Alex Begg, and some like Emma Hyslop manage to secure a job.

Sat behind a fringing machine at the mill, Hyslop, 28, deftly ran a dark cashmere fabric destined for a Spanish luxury brand through its frame, twisting the ends of the cloth into fringes.

After getting a fashion design diploma at a Glasgow college, Hyslop did a six-week course with the King's Foundation, through which she discovered the luxury mill in her backyard.

"I had no idea about the place beforehand, and it's on my doorstep," said Hyslop, from south Ayrshire.

"We're actually quite a hidden gem," said Dempsey.

"So it's our job, our legacy, to keep bringing people through our manufacturing businesses, and keep bringing the skills alive again."

- Heritage skills -

The mill currently has four apprentices and is hoping to add more this year.

Dempsey also gives talks to local primary school children with the King's Foundation.

It is an issue close to the king's heart, with the British monarch attending Thursday's opening of London Fashion Week and meeting apprentices "supporting heritage skills and sustainability" -- including students on King's Foundation programs.

Nicole Christie founded her own sustainable women's luxury brand, Ellipsis, after completing a textile program at Dumfries House in 2020.

Entering luxury fashion in Scotland is "difficult", said Christie, with other major brands usually based in London or other European cities.

"At one point, leaving university, I did think that I would have to move down south," said Christie, who instead decided to build her brand in Glasgow.

"I'm really proud that I'm doing it here, and I really hope one day that I'll actually be able to give other people opportunities."


London Fashion Week Opens with Tribute to One of Its Greats

London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
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London Fashion Week Opens with Tribute to One of Its Greats

London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File

London Fashion Week, better known for nurturing new talent than for its big-name shows, kicks off on Thursday with a tribute to one of its stalwarts Paul Costelloe.

The Irish-American designer, who died aged 80 last November, was a regular fixture on the opening day of the British capital's fashion week since the inception of the show in 1984, AFP said.

Over four decades, his romantic, sartorial catwalks remained a constant: witness to the rise and fall of London Fashion Week (LFW) which has seen the departure of big fashion names to its counterparts in Milan, Paris and New York in recent years.

His son William Costelloe is now the creative director of the brand, which wrote on social media ahead of its LFW Autumn/Winter 2026 opening show: "A new season. A powerful moment. A legacy moving forward."

Tolu Coker, a British-Nigerian designer who launched her brand in 2018, will also show on Thursday her elegant, mainly-unisex designs inspired by diverse identities.

Notable names including Harris Reed and Richard Quinn will return to the catwalk in London, with Burberry closing the week in its usual fashion on Monday evening.

Other labels will bring a royal flavor to the runway, with brands worn by Princess Catherine including Emilia Wickstead, Edeline Lee and Erdem putting on shows.

However, there will be no show from the breakout Northern Irish designer Jonathan Anderson, who was one of the most eagerly awaited at London Fashion Week in recent seasons.

The 41-year-old took over at Dior last June, leaving him little time for his own brand, JW Anderson, which he founded in 2008.

For several years, London has been losing ground to its star-studded rivals in Paris and Milan, but it has clung onto its role as a breeding ground for young talent.

The British Fashion Council's NewGen initiative provides funding for emerging talent, with several up-and-coming designers finding their stride at LFW through the incubator.

'Great support'

Designers like Simone Rocha, Tolu Coker and Roksanda have become fashion week mainstays after making their debut on the NewGen catwalk.

Among the recent breakouts is Joshua Ewusie, a 27-year-old British creator born to Ghanaian parents who is due to put on his second fashion week show with his brand "E.W.Usie".

The young designer was supported by the King's Foundation, a charity founded by King Charles III, in partnership with Chanel, which gave him a studio space shortly after he graduated from the prestigious Central Saint Martins school.

His hometown London, which boasts several notable fashion schools, provides "great support for young designers," Ewusie told AFP ahead of his LFW presentation on Sunday.

"There's so many opportunities, I think, that London gives to help young brands start," he added.

His new collection is inspired by the 1980s, when his mother moved to London, says the designer. It's all about culture and identity, with leather as the star material.

French designer Pauline Dujancourt, known for her work with knitwear, also chose to stick with London Fashion Week after her studies at Paris's Ecole Duperre and Central Saint Martins in London.

"As much as Paris Fashion Week is incredible and I'm dreaming to be part of it one day, maybe there's a bit more room for younger brands in London at the start," said the 31-year-old designer, who will show her collection on Sunday.

"I think people have come to London Fashion Week expecting to see a bit of newness and younger generations as opposed to Paris and Milan, where it's more like established houses."